Please wait...

Hyperion Records

Click cover art to view larger version
Track(s) taken from CDA66819
Recording details: July 2000
St Jude-on-the-Hill, Hampstead Garden Suburb, London, United Kingdom
Produced by Ben Turner
Engineered by Philip Hobbs
Release date: August 2001
Total duration: 23 minutes 29 seconds

'A superb release of little-heard Vivaldi … Volume 6 of this series was a Gramophone Award nominee this year and I see no possible reason why this one shouldn't be too: it contains some very fine and largely unfamiliar music in splendid performances' (Gramophone)

'Quite frankly, this is the kind of disc that wins awards. Yet again, it’s congratulations to Hyperion. If you haven’t yet sampled this series, start here' (Early Music Review)

'One of the most rewarding discs in this splendid series to date' (International Record Review)

'Get this new volume at once, work your way backwards and acquire the earlier volumes, and pray that this series continues for many years' (Goldberg)

'Vivid, vigorous and immaculate accounts. Stutzmann’s unique voice quite fabulous in the Vestro Principi … superb choral singing, all perfectly balanced by the engineers' (Yorkshire Post)

Laudate pueri, RV601
composer
c1730
author of text
Psalm 112 (113)

Gloria Patri  [0'51]

Introduction  EnglishFrançaisDeutsch
Vivaldi produced three known settings of Psalm 112 (113 in Protestant bibles), of which this is the last, dating from around 1730. It appears to have been composed for a member of a group of seven Italian singers at the Saxon-Polish court in Dresden who had trained in Venice and Bologna between 1724 and 1730. As well as the composer’s autograph score, today preserved in Turin, a fair copy in the hand of his father, Giovanni Battista Vivaldi, survives in Dresden.

RV601, in G major, is a true virtuoso piece for a soprano (originally a castrato) able to reach D in alto. The galant inflections of its melodic lines remind one of the Neapolitan opera that had conquered Venice only a few years earlier. It contains some vivid word-painting, examples of which are the sustained trilled note on the first syllable of ‘saeculum’ (eternity) in movement 2; the long ascent representing sunrise in movement 3; the registral contrast of ‘caelo’ (heaven) and ‘terra’ (earth) in movement 4; the fierce urgency with which the poor are raised up from the dust in movement 5; the mechanically repetitive crotchets illustrating the word ‘collocet’ (set) in movement 6. The most memorable movement is unquestionably the seventh, ‘Gloria Patri’, in which the composer calls for an obbligato flute, which for Venice was still a relatively new instrument. Vivaldi certainly encountered the flautist Johann Joachim Quantz, a member of the Dresden orchestra, on the latter’s visit to Venice in 1726, and this movement can be seen as a retrospective homage to, and renewal of musical contact with, the eminent German.

from notes by Michael Talbot © 2001

Other albums featuring this work
'Vivaldi: The Complete Sacred Music' (CDS44171/81)
Vivaldi: The Complete Sacred Music
MP3 £35.00FLAC £35.00ALAC £35.00Buy by post £40.00 CDS44171/81  11CDs Boxed set (at a special price)  
Show: MP3 FLAC ALAC
   English   Français   Deutsch